Where Art and Science Meet | American Scientist
Almost 50 years after CP Snow's famous 'Two Cultures' lecture, are art and science still worlds apart? Julian Kiverstein explores a question of compatability. At first glance, science and art appear to be two separate disciplines that do not have much in common. In the past, they were and are now becoming more. One of the great ironies of human existence is that art and science are both optional costs for culture.
Bringing Prehistory to Life Cambridge University Press, —excerpted below—Trusler, Vickers-Rich and Rich explore the fertile opportunities for provocation, when established ideas are challenged, and for education when meticulous art and science connect.
Collaborating with Patricia Vickers-Rich and other paleoresearchers, Peter Trusler in created this copyrighted oil painting top that depicts the giant and flightless birds Dromornis stirtoni in Central Australia during the Miocene epoch.
Images and text are reprinted with permission of Cambridge University Press. Ad Right Peter Trusler: So true, but for all major advances there is a frame of reference, or a point of relativity, beyond which this may not hold.
Regrettably, something is often lost when another thing is gained. In circumstances where I have the opportunity to compare a well presented, old lithographic drawing of a specimen with an equivalent photograph, I have found that, contrary to popular opinion, the drawing can be superior It contains a system of weighted emphases that can filter out extraneous or irrelevant information.
Drawings deal with surfaces, form and content and matters of understanding, for they are time intensive.
Drawings are expressions that embody research and development. They are never bland, factual presentations, no matter how simple or realistic they may appear.
One can, therefore, read the mind of the individual who rendered it. All that sand, all that sun and those mountain vistas seemed too pleasant. My conception of a "real city" couldn't accomodate the lovely window dressing that frames Los Angeles. I was also convinced a place like this could not foster genuine and serious artistic effort. An afternoon's trip to the astonishing Getty Center cured me of that bias. Art in LA is a series of exhibits that have been running across the city for a year.
Exploring the movements that helped turn L. It was in one of those galleries that I discovered the work of De Wain Valentine and came face-to-face with the intersection of art and science.
Where Art And Science Meet, Exactly
Born in Colorado, Valentine's early experiences with polishing rocks awakened his sensitivity to "reflective surfaces, translucence, and industrial processes. Out of necessity he developed his own a modified polyester resin called MasKastallowing him to produce monumental objects in a single pour.
What he created with his new process was nothing short of monumental. De Wain Valentine's Gray Column runs through March 11, details the creation of one twelve-foot high, eight-foot wide, 3, lb.
Where Art And Science Meet, Exactly : Cosmos And Culture : NPR
Taking in the "Gray Column" from all angles of the gallery, it's clear that Valentine's work is, essentially, a protracted experiment in the relationship between light and matter. As the artist once said, his goal was to "take a big saw and cut out a piece of sky. To move from that inspiration to creation, from that idea to matter, however, Valentine needed to engage with the world at the level of resin chemistry.
The Getty's exhibit details how he struggled to get barrel after barrel of the resin into wooden frames without the frames bursting into flame. The liquid resin released enormous amounts of heat as it changed phase, setting into a solid form.
In reading of these efforts I was struck by the similarity of process in art and science. De Wain Valentine's work clearly lived at the frontiers of the chemical industry's understanding of resin polymers.When art and science meet: [email protected] & ALMA
That does not, however make him unique. Even with the role chemistry played in art there is not a foundational difference between Valentine's efforts and other artists. Every painter experiments with the colors they can, or cannot, create from tubes of acrylic or oil. Every sculptor must confront the actual brittleness of their stone or the flexibility of their metal.